Described by interactivecinema.org as "...a perfect example of thought and physical
interaction working together... ", The Roar of Destiny is a complex hyperpoem
constructed with hundreds of carefully crafted, intertwined lexias. The reader, like
the narrator, is involved in a continual struggle between the real and the virtual --
between stark black-backgrounded paths that lead to despair and depression and
bluegreen-backgrounded paths that follow beside clear mountain streams; between
purple screens that relate the narrator's sojourn in a desert home and white
screens that detail the relationships between co-workers in a virtual workspace.

The primary interface in this poetic experience of environment and altered environment
is a dissolving and reassembling dense structure of phrase links. Radiating from this structure,
are story-bearing lexias -- each composed of a narrative fragment that sometimes runs
decisively in the center of the screen and sometimes is raggedly merged with peripheral words
and hyperlinked phrases. The reader follows the narrative by reading the bolded words in the
narrative lexias -- while at the same time absorbing the peripheral words and links in the way that
one views the links in online newspapers.

The first person, the "I" of the narrative, is a way of connecting the
reader to the narrator. It leads the reader into the details of the
narrator's immediate environment -- the small things, the seemingly
inconsequential events that trigger memories and thoughts. In the Roar
of Destiny, the narrator's name is Gweneth. She is not me. This is a work of
fiction.

........................
The roar of destiny
...........................emanated from the
refrigerator
................................
I got up to get a beer

Begun online in December, 1995,
this work of public new media
literature was created publicly
over the course of four years.
New screens were slowly
added and, with every addition,
the links on other screens were
changed, so -- as if he or she
were in a public garden that
changed with the seasons --
a reader returning to the work
may have found the paths by
which he or she previously
navigated the work to have
been altered, diverted, or
augmented.

The Roar of Destiny,
an early work of new media
literature on the World Wide Web, was
profiled in Richard Kostelanetz's
A dictionary of the avant-gardes,
(Routledge, 2001) in the Fraunhofer
Net Art Guide, (2000) and is
included in the Boston CyberArts
HyperGallery. It was also featured
on the cover of Leonardo in 1996.
and in Malloy's book chapter in
Interactive Dramatologies.
((Heide Hagebolling, ed,
Springer Verlag, 2004)